Nebílovy Chateau Diary

We approached the yellow-and-white Baroque chateau that was located about 16 kilometers south of Pilsen. Nebílovy had two horseshoe-shaped sections, a front and a back wing. The front part of the chateau boasted a beautiful yellow exterior. However, the outside of the back chateau was in bad condition. When my friend saw the back wing, she asked me if the chateau was open.

Because this was my second visit, I was able to explain to my friend that the building in the back sported some beautiful interiors of representative rooms, including a dazzling dancing hall and an impressive chapel. Unfortunately, finances had not yet permitted the exterior of the back wing to be restored. Many rooms in the back wing had to be renovated, and it would take a long time. Czech chateaus and castles just didn’t have the money to do repairs quickly. I wished I was a billionaire and could donate money to cats and the restoration of chateaus and castles in the Czech Republic. Alas, this was not to be.

I was familiar with the history of Nebílovy. The chateau came into existence during 1706 thanks to Count Adam Jindřich from Steinau, who had it built for residential purposes. The Viennese architect who made this possible was Johann Lucas von Hildebrandt. Count Adam Jindřich would be a major player in the chateau’s history. He had made a name for himself as imperial general and field marshal of the Venetian Republic. However, Adam Jindřich passed away in 1712, before construction was completed.

Then Nebílovy was sold to the Černín family, and construction was finished before 1720.  Count Vojtěch Černín from Chudenice, an accomplished hunter, had it reconstructed in the late 18th century, when master artist Antonie Tuvora painted the interiors. Unfortunately, most of his painting had not survived. It was still visible, though, in the 18th century Dancing Hall due to a lengthy and complicated restoration process.

The Wallenstein-Vartemberk clan then had possession of the chateau, but they lived at Kozel Chateau nearby. I had visited Kozel with its one-floor unique architectural style several times. Later, Nebílovy became decrepit and would remain in bad condition for 100 years. From 1816 it was no longer inhabited. It was used for agricultural purposes. After World War I, parts of the property were divided into plots and sold. Restoration didn’t start until 1968, when the state got control. It was open to the public in 1998.

We walked through the park, which had many flower arrangements and an intriguing fountain. One side was fenced off. Sheep, rams and goats called that part home.

Soon it was time for the tour of the front and back wings. Even the hallway of the front wing was impressive with its delightful paintings of herbal flowers. I especially liked one painting near the beginning of the tour – it showed two hamsters eating grapes. I hadn’t seen many hamsters in paintings in chateaus.

One feature I loved during the tour was the presence of impressive Venetian chandeliers. The Oriental porcelain and furnishings also captured my attention. The porcelain in general was also worth praising, especially the Meissen works. An avid tea drinker, I especially liked a white tea cup decorated with painting of ivy and red flowers. It had a cheery, Christmasy feel. I loved Christmas Eve. It was my favorite holiday. Another piece that interested me was a blue porcelain peacock adorned with real feathers. I also was drawn to a black jewel chest, its drawers sporting floral, plant and bird motifs. The pianos in the chateau were another delight.

While we were examining the back building, we saw the Dancing Hall. I stood in the middle of the 180 meters squared room and stared at the wall and ceiling frescoes of an exotic landscape with Classicist and Rococo elements. It almost made me dizzy with glee.

The frescoes were dotted with monkeys, peacocks, birds and ancient ruins as well as a few people in 18th century attire. The palm trees started at floor level and reached to the ceiling. The doors and fireplace became parts of the landscape, surrounded by trees and architecture from antiquity. I particularly liked the painting of the monkey praying. The faux window, made using illusive techniques, was another thrill. A temple stood in the idyllic landscape, where several people relaxed. Broken statues and pedestals added to the motif of antiquity. I was awed at how Tuvora’s delicate work really drew the viewer into the setting. I was even more fascinated by the restoration process of the fresco. They had arranged it into 650 parts and restored each piece during a lengthy process that was not ready until 2013. The fresco restoration had been even lauded by the National Monument Institute.

After the tour, we entered a small doorway from the courtyard of the back building. It didn’t look like it would be anything special. But inside there was a chapel dedicated to Saint Anthony, an impressive Baroque creation with gilded altars that included wonderful statuary. On the other side of the back building, there was a modern art exhibition that was interesting to see.

We soon left the chateau, full of awe at the 18th century interiors and intriguing architecture of the exteriors. Images of the Dancing Hall kept popping through my mind. It was definitely exceptional, a true work of art – precise and masterful. We came back to Prague, knowing our trip was a great success.

Tracy A. Burns is a writer, proofreader and editor in Prague.

Konopiště Chateau Diary

I had been to Konopiště Chateau at least seven times. The tours were always packed with 30 tourists or more, which could be a bit disconcerting. About 40 kilometers from Prague, Konopiště is a popular sight for day trips from the capital city and is usually swamped with tourists.

This time, though, there were only about five of us on each tour. It was during the coronavirus pandemic, at the beginning of September of 2020, when the situation was just starting to get worse. (It would be our last day trip during 2020 because of the steady increase in coronavirus cases.) The courtyard was almost empty. A few tourists waited on benches and fiddled with their cameras. No tour buses traveled there at that time because of the pandemic. We wore our masks and were able to social distance from each other on the tours.

By my 2020 visit, I knew the history of Konopiště well. The chateau of four wings and three storeys came into being as a Gothic fort with stellar defense features in the 1280s. The Šternberks took control of the castle in 1327, and it remained their property for more than 275 years. Konopiště survived the 15th century Hussite Wars without a scratch, a much different fate than so many other Czech castles that were plundered and even destroyed. Konopiště got a Gothic-Renaissance makeover during the late 15th century thanks to George of Šternberk. It became a Renaissance chateau when the Lords of Hodějov owned it in the 17th century. The Lords of Hodějov rebelled against the Habsburg monarchy in 1620, and the chateau was confiscated from them, placed in the possession of military leader Albrecht von Wallenstein.

While Konopiště had experienced good fortune during the Hussite Wars, the same could not be said about their fate during the Thirty Years’ War. The Swedes plundered it in 1648, and throughout the war, the chateau suffered serious damage. After Adam Michna acquired the chateau, the serfs rebelled against his repressive measures and conquered Konopiště in 1657. The Czech kingdom’s highest burgrave, Jan Josef of Vrtba, purchased Konopiště when it was in a decrepit state and transformed it into a luxurious Baroque chateau. Later, the chateau’s interior would also feature some Rococo elements.

Archduke Franz Ferdinand d’Este – Photo from Dotyk

During 1887 Franz Ferdinand d’Este purchased the chateau. He was the oldest nephew of Austrian Emperor Franz Josef and later would become the heir to the Habsburg throne. He made a multitude of changes to the chateau, reconstructing it as a Renaissance residence with North Italian features. One part of the chateau was remodeled to look medieval. Architect Joseph Mocker carried out the renovations between 1889 and 1894. The archduke founded the 225-hectare English style park with the exquisite rose glarden. He established what is today the third largest European collection of armory and medieval weapons. Perhaps what stood out the most was his impressive collection of hunting trophies that are seen in the hallway at the beginning and throughout the tour.

He also installed modern technical features, such as a hydraulic elevator, central heating and electricity. His vast collection of items dedicated to Saint George are located in the former orangery. After his assassination in Sarajevo during 1918, the First World War took place, and the chateau was plundered. During World War II the chateau served as a headquarters for the Nazis. It was nationalized in 1945, after World War II.

Franz Ferdinand d’Este and his wife Sophie Chotek – Photo from Pinterest.

To know the history of Konopiště, it is necessary to know more about Franz Ferdinand d’Este. The oldest son of the brother of Emperor Franz Joseph I, he became heir to the Habsburg throne after his cousin Crown Prince Rudolf killed himself and his father died. The Crown Prince, the only son of Emperor Franz Joseph I, committed suicide along with his mistress, Mary Freiin von Vetsera, at Mayerling hunting lodge in 1889. Franz Ferdinand achieved much success in the military. However, he often disagreed with Emperor Franz Josef and was by no means a favorite of the emperor.

Sophie Chotek – Photo from Alchetron.

He was smitten by Sophie Chotek, a lady-in-waiting to Archduchess Isabella. The two were secret lovers for two years because Sophie was not descended from the Habsburgs or any other European ruling dynasty, something that caused much tension between Franz Ferdinand and Emperor Franz Josef. The emperor did eventually allow the couple to wed, but he set rigid conditions. None of their children could be heirs to the throne. Also, Sophie was forbidden to sit in the royal carriage or royal box.

Zákupy Chateau

They were married at Baroque Zákupy Chateau in northern Bohemia, a place I had visited a few years earlier. I recalled the many portraits and pictures of members of the monarchy at Zákupy. Franz Joseph had used the place as a summer residence for some time in the second half of the 19th century. I remembered what I liked best about Zákupy’s interior. I loved the delicate, decorative painting of Josef Navrátil on the upper walls and ceilings of many rooms.  A fantasy-inspired painting of the four continents had also held my attention. The 17th century Baroque chapel was amazing with ceiling frescoes portraying scenes from the lives of the Virgin Mary and Jesus.

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Interior of Zákupy Chapel

Franz Ferdinand and Sophie had three children and were married for 14 years. The couple was assassinated by Gavrilo Princip, a member of the Black Hand terrorist group, on June 28, 1914 in Sarajevo. Franz Ferdinand and his wife had travelled to Sarajevo because Franz Ferdinand wanted to oversee military maneuvers. Less than two months after their tragic deaths, World War I broke out.

Soon it was time for the tour. One characteristic that has always enthralled me is that the chateau has 96 percent of its original furnishings. So many original furnishings of castles and chateaus had been destroyed or lost. Photographs of Konopiště’s interiors from Franz Ferdinand’s ownership of the chateau made it possible to see the spaces as they really had looked during that time period.

As we admired the luxurious spaces on the first tour, I recalled that Franz Ferdinand and Konopiště were mentioned in Jaroslav Hašek’s The Good Soldier Švejk and His Fortunes in the World War, an anti-militaristic, satirical novel sprinkled with anecdotes in which Švejk, a gung-ho soldier serving in the Austro-Hungarian Empire, appears to be an idiot. It is not clear if he is pretending to be an idiot. Originally published from 1921 to 1923, the book was never finished as Hašek succumbed to a heart attack while writing it. The Good Soldier Švejk, as it is often called, holds the distinction of being the most translated book in Czech literature.

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The first tour showed off some 5,000 numbered hunting trophies, many of exotic animals, as Franz Ferdinand had travelled all over the world on hunting expeditions. Many trophies consisted of exotic animals. I saw bears, antelopes and wild cats, for instance. The archduke had also killed 12 Indian tigers. There was also a collection of 3,200 pairs of deer teeth. But Konopiště is much more than its seemingly ever-present hunting souvenirs.

Archduke Franz Ferdinand with his family – Photo from Franz Josef

One of the most impressive spaces is the Rose Room, which has an exquisite pink ceiling and shows off 19th century Rococo furniture. Its Czech crystal chandelier is another delight. I was especially drawn to an Empire style table adorned with gemstones. I loved the three Italian marble cabinets that sported drawers decorated with leaves, fruit, animals and birds. I noticed the delicate ruddy cheeks of Marie Antoinette in one portrait. The Grand Dining Room stood out for its Baroque ceiling that portrays the four seasons and a Czech crystal chandelier weighing 170 kilograms. The 15th century paintings in William II’s Bedroom caught my undivided attention. An exquisite Spanish tapestry of a forest with people on horseback hung in one room. A beautiful yellow, blue and white tiled stove stood out in the Guest Bedroom. A Venetian mirror showed off a picture of Saint George. Many artifacts on the tours were decorated with likenesses of Saint George.

The second tour of the chateau included rooms specifically meant for Crown Prince Rudolf, though he died before he could visit his cousin. Franz Ferdinand had been very close to the Crown Prince and had taken his death very hard. On this tour we learned many interesting facts about Franz Ferdinand’s life. The guide told us that Franz Ferdinand’s brother encouraged him to keep Sophie as a mistress instead of marrying her. Franz Ferdinand never spoke to his brother again.

I marveled at the 16th century Renaissance vaulting throughout the rooms. These spaces make up the oldest part of the castle. My favorite room was the chapel, one of my favorite chapels in the country. It was a place where I could have imagined having my wedding if I had found someone to marry. I was awed by the 19th century blue vaulted ceiling speckled with gold stars, symbolizing the sky. The 15th and 16th century sculptures also amazed. The main altar was Gothic, featuring the Virgin Mary and Jesus. Saint Hubert and Saint George (of course!) also made appearances. Instead of an organ, the chapel was equipped with a harmonium, and it still worked. I loved the bright colors of the chapel – they had such a distinctive vibrancy that gave off positive energy. Also, the small chapel had an intimate feel.

Even though I was not a big fan of weapons, the armory was very impressive. I saw 15th century weapons from the Hussite wars, executioners’ swords and complete armor for a horse and knight hailing from 1560. Renaissance armor for a musician from 1600 was exquisitely decorated with pictures of instruments. A rifle made of ebony hailed from the beginning of the 16th century. Cannons on display had been used during the Thirty Years’ War. Some shields were decorated with mythological themes. One showed a fighting Hercules. I also saw rifles and pistols made in the 16th and 17th century.

A look at the countryside around the chateau

There was even more to admire on that tour. An electric elevator with plush seats looked like a small, luxurious train compartment. Franz Ferdinand had equipped the chateau with the most modern technology of the time period. I liked the ashtray made of part of an elephant’s foot. In the Smoking Salon, a 16th century tapestry portraying King of Macedon Alexander the Great caught my attention. Also, the 17th century monumental fireplace adorned with figures of lions and coats-of-arms was carved from rare Italian Carrara marble. Toward the end of the tour, we saw a stuffed bear that had lived in the chateau’s moat until 2007. Now another bear, named Jiří (George), resided there, though I hadn’t seen him when I had looked over the moat during this visit.

We didn’t have a chance to go on the third tour, but I had been on it during previous visits. It consisted of Franz Ferdinand’s private apartments. Furnishings of various styles exuded charm and luxury. A hunting theme dominated the décor.

Museum of Saint George in the former orangery

I also visited the Shooting Hall in the former stables, which hailed from Franz Ferdinand’s time at the chateau. I was impressed with the astounding detail of the painted moving targets of various people and animals.  The museum of 808 objects depicting Saint George killing the dragon in the former orangery was another delight. Franz Ferdinand had collected these paintings, statues, ceramics, glass and altarpieces with the hopes that one day Britain’s King George would visit the chateau. That dream was cut short by Franz Ferdinand’s death.

Target in the Shooting Hall

Then there was the vast park, which we only had a little time to visit. The rose garden had always been my favorite part of the park along with its numerous Italian sculptures. I also had an affinity for the greenhouse and its intriguing plants. I had been at the park during the spring and summer previous years, so I had seen it in full bloom.

Chateau park

Then it was time to eat. We were the only customers in the cozy chateau restaurant. I had chicken and couldn’t resist a large sundae for dessert. I loved treating myself to ice cream on my day trips. It made them even more special. I would remember this sundae more than others because it would be my last at a chateau for the season. I can still savor the vanilla and chocolate. . . .

My last dessert at a chateau restaurant in 2020

Tracy A. Burns is a writer, proofreader and editor in Prague.

Peruc Chateau Diary

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NOTE: No photography was allowed inside the chateau.

I was so excited to be visiting a chateau I had never seen before. Peruc Chateau had just opened to the public on July 1, 2020 after lengthy reconstruction. Now it was mid-August. I was entranced by the blue Rococo façade.

In the late 16th century, the Lobkowicz clan that owned Peruc turned the Gothic fortress there into a Renaissance chateau. After that, owners came and went. In 1673 Jan Jetřich of Ledebur purchased what was then a ruin, and the property remained in his family for more than 100 years. During the late 18th century, they transformed it into a Rococo chateau.

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František Palacký, photo from Vždy Nahoře

In 1814, it became the property of František Antonín Thun-Hohenstein. During the 19th century, famous Czech historian, politician and writer František Palacký, nicknamed the Father of the Nation, frequented the chateau. I had always admired Palacký not only for his contributions to modern Czech history studies but also because he spoke 11 languages. Poet, prose writer, reporter and world traveler Svatopluk Čech spent much of his childhood in Peruc. He would go on to write one of the main science fiction books in Czech literature.

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History of the Czech Nation by František Palacký, photo from Databáze knih

During World War II, the chateau was used as a depository for Leipzig University library, and the collection was transformed back to Germany in 1954. The chateau remained the property of the Thun-Hohenstein clan until 1945, when, according to the Beneš decrees, it was nationalized. Cubist painter, graphic artist and sculptor Emil Filla lived there in the late 1940s and early 1950s, composing mostly landscapes of Czech mountains. During World War II he had spent time in Dachau and Buchenwald concentration camps, where he wrote theoretical essays and poems.

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Svatopluk Čech, photo from Knižnice

In the 1950s, part of the chateau was used as a nursery school. During the 1960s, a prehistory exhibition of the National Museum was set up as was an exhibition to Svatopluk Čech. The town was also associated with a romantic story about Oldřich and Božena’s fateful meeting. During 1964 the chateau became a cultural monument. However, the building became dilapidated and soon was nothing more than a ruin.

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Svatopluk Čech’s sci-fi masterpiece, photo from Databáze knih

The district was given the chateau after the 1989 Revolution, and they sold it, but it remained in a decrepit state. Finally, in 2015 a new owner came along and had the restoration done. The same person owned Dětenice Chateau, another favorite of mine. Now the chateau looked majestic and lavish, but, while on the tour, I would see pictures of the horrible condition before reconstruction.

Before the tour, I discovered that there were only dry toilets outside, with a hole in the ground instead of a flushing mechanism. I hadn’t used a dry toilet since visiting Kokořin Castle so many years ago.

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Soon it was time for the tour. First, we walked up a statue-flanked staircase, where I saw sculpture representing allegories of architecture, construction and sculpture, for instance. They had been created by the workshop of Ignác František Platzer, the principle sculptor of the 18th century. The statue at the top of the staircase hailed from the 16th c. A stunning tapestry with a religious theme hung behind the monumental staircase.

Throughout the tour, I would be in awe of the many masterful religious paintings, including Madonnas and scenes from the Old Testament. The Břeclav Madonna was my favorite. Its gold background gave it a majestic appearance, and the semi-precious stone on one finger of the Madonna was a stunning feature.

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The tiled stoves, mostly in Classicist style, were another delight. The one that I liked best was thin, about one-third of the width of a typical tiled stove in a chateau. It was white and sleek. I was drawn to it because it looked modern, and its design was simple rather than lavish.

Large portraits of Emperor Franz Joseph I, Empress Maria Theresa and Josef II could be found throughout the chateau. I especially liked one likeness of Josef II in which one of his hands seemed to stick out of the painting as if it were three-dimensional.

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Some of the ceilings were beautiful. Several painted ceilings represented the Renaissance style while another depicted a blue sky. The Czech crystal chandeliers also made a notable impression. Large Florentine mirrors wish lavish gold frames captured my undivided attention, too.

I was particularly drawn to a black jewel chest with wine red drawers, made of ebony and ivory. A colored painting of a figure with a parasol and other people in what appeared to be a forest was the subject of a partition. Currently, the Blue Salon is being renovated. Its blue decoration is stunning. I noticed a blue castle on one wall.

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I stopped by the nearby Museum of Czech Village Life twice, but it was not open. After seeing the chateau, we were famished. We didn’t fancy anything at the outdoor grill on the chateau grounds, so we got in the car, found a restaurant on the Internet and drove there with GPS. The navigation tool led us to an abandoned farmhouse in Slavětin. The only restaurant in the town didn’t open for almost four hours.

We went through many villages, and there weren’t restaurants in any of them. A lot of restaurants in villages had closed down due to the coronavirus lockdown, when they lost so much money because they weren’t allowed to be open.

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The main staircase of the chateau

We came to a village where a friend of my friend lived, and my friend called her for advice. She mentioned that a village called Klanovice had a superb restaurant. We found Klanovice, but only saw a dirty bar where there was little choice of food. That surely wasn’t the right restaurant. We went back through the village several times and finally turned into a place where people could ride horses. To one side was an impressive-looking restaurant. The food was excellent, the atmosphere charming and rustic.

From there we found our way back to Prague. I was glad I had – after such a long time – been introduced to a new chateau and certainly would recommend it to my friends.

Tracy A. Burns is a writer, proofreader and editor in Prague.

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Chandelier above main staircase

Ploskovice Chateau Diary

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I first discovered Ploskovice Chateau in 2005, and I wrote about it in an article about chateaus of north Bohemia for The Washington Post. My second visit was long overdue – not until 2019. I remembered being very impressed by Josef Navrátil’s delicate ceiling and wall painting that exhibited painstaking detail.

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The name Ploskovice was first mentioned in writing during the 12th century. A fortress used to be in the settlement, but the defensive structure was replaced by a Renaissance chateau in the 17th century, and that building was given a Baroque makeover in the 17th century. The current chateau hails from the 18th century, when grottoes, a decorative garden and statuary were all added to make it the superb architectural work that it is today. The architect was most likely the renowned Kilián Ignatius Dientzenhofer.

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Ploskovice became the summer residence of Ferdinand I after he had abdicated from the throne in 1848. This was the era when the brilliant Navrátil did his magic. After the founding of Czechoslovakia, the chateau was nationalized. It was made into a private summer residence for the Foreign Minister of Czechoslovakia, Edvard Beneš, who had promoted independence while living in exile during the First World War. He made frequent visits during the 1930s.

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However, after the Munich Agreement ceded the land of the Sudeten region to the Third Reich, German soldiers took over the chateau. A school for young Nazis was on the premises. During 1945, after the end of World War II, the chateau became state property again. In 1952 renovation began, and Navrátil’s frescoes were restored to their original beauty. During the 1960s, the chateau was opened to the public.

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The tour started in the hallway that boasted beautiful arcades. The entrance hall was stunning with frescoes, stuccowork and statues of the four elements and four seasons. We then saw 11 rooms.

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The Engraving Salon featured a large collection of engravings and mid-18th century Rococo decorations with white-and-gold furnishings. Meissen porcelain enhanced the beauty of the room. I loved the vedutas of Paris, French chateaus and French parks. In the Rococo Ladies’ Bedroom, the small crucifix that can be opened and closed was made from ivory. An early Baroque jewel chest dated from the 17th century, hailing from Cheb. The small opening in the jewel chest held an altar. A gilded Rococo mirror also added to the elegance of the room. Paintings from late Baroque and Rococo periods also hung in the space.

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The Dining Room boasted Czech porcelain service from the days of Ferdinand I. The four seasons were personified on a ceiling that included superb medallions. The Emperor’s Salon boasted second Rococo furnishings and appeared as it had when Ferdinand I had used the chateau as a summer residence. Navrátil’s delicate floral designs on the ceiling were other delights. A second Rococo chandelier adorned the space. I saw portraits of Empress Marie Theresa and her son Joseph II. They looked like they were made of stucco but were really paintings. A superbly decorated white tiled stove also impressed me.

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The Dancing Hall was the highlight of the chateau. Large figures representing the four continents dominated the ceiling, painted in Navrátil’s cheerful colors. A Turk with a camel represented Asia while a crocodile stood for America. The room even had a delightful balcony. An antique vase was painted on one wall. The colors were dynamic, the painting in the room powerful and bold.

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The Emperor’s Bedroom featured furnishings of the second Rococo style, dating from around 1850. The ceiling was colorful, adorned with bouquets of flowers. In the corner, medallions showed allegories of the times of day. A rooster represented morning, a relaxing hunting dog portrayed noon while a drinking deer stood for evening and an owl personified night. I loved the dark blue cups for coffee or hot chocolate. They came from Karlovy Vary. Two paintings of a Madonna and Child also adorned the space.

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In another space there were sofas on which the people would be seated back-to-back. The ceiling boasted scenes from the Italian countryside. It brought back fond memories of my day trips from Florence to Tuscan towns and many other places in Italy, a country I loved dearly.

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The Emperor’s Morning Salon was also worth mentioning. The wooden chandelier was stunning as were the small wooden cups and kettle. They looked so delicate and quaint. In another space an artificial marble table featured a design with shepherds. An 18th century Biedermeier clock also adorned the room. The chandelier was made of alabaster.

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I loved the paintings on the wall of the Emperor’s Study, showing scenes from a Roman market. It also included French bronze clocks. Because Ferdinand I had been a passionate collector of clocks, there were many clocks of various styles in the chateau. A portrait of Napoleon’s handsome son hung on one wall. He had died of tuberculosis when he was 20 years old. I thought of my family friends who had lost a child when she was 20. I sometimes wondered what her life would have been like if she had lived, what she would have done for a living, whom she would have married, how many kids she would have had. I always thought of her donning that contagious grin, which could light up every room.

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Another space showed off Late Empire style furniture with a stunning circular table made of artificial marble. Paintings of Apollo and the muses also astounded. I was especially interested in the two colored lithographs of a banquet in Vladislav Hall of Prague Castle in honor of the coronation of Ferdinand I becoming Czech king in 1836. I was very passionate about Czech and Slovak history, having studied this field in graduate school, when I got my master’s in Czech literature. Vladislav Hall was seeping with history. I felt it whenever I meandered around the Castle and visited the architectural masterpiece.

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The second floor of the chateau consisted of masterful 19th century Czech paintings, such as those by Jaroslav Preiss, Navrátil, the Mánes brothers and Chitussi. Unfortunately, photography was not permitted. I loved the small landscape scenes best.

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Six ground floor spaces had been made into grottoes – artificial water caves – in second Rococo style. Baroque fountains in the grottoes boasted figural decoration. One fountain was adorned with motifs of Hercules’ deeds. Allegorical figures of the four seasons also stood out. The coats-of-arms of all the past owners of the chateau adorned one wall. The ceiling decoration was also breathtaking.

The chateau park consisted of eight hectares with a four-tiered terrace punctuated by marble fountains. It dates from the 19th century era that promoted the second Rococo style. One of the features I liked best about this chateau was the presence of peacocks. Peacocks flaunted their colorful plumage throughout the grounds.

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I was also very pleased that the local restaurant offered my favorite meal: chicken with peaches and cheese. It used to be on the menus in many restaurants during the 1990s but then for some reason disappeared from the lists of entrees. The meal was delicious, and my trip had been a great success.

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Tracy A. Burns is a writer, proofreader and editor in Prague.

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Charlottenburg Palace Diary

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I hadn’t had time to tour this palace during my visit to Berlin in May of 2018 because it was so far away from my lodging in East Berlin and difficult to get to. This time I stayed in the more tranquil Charlottenburg district, which, along with the palace, Frederick the Great had renamed after his wife Sophie Charlotte, who had died in 1705 at age 37. I quickly grew fond of Charlottenburg’s wide streets with shops that didn’t cater to tourists. There was only one souvenir shop near my hotel, and it was at the Metro stop. Charlottenburg had an appealing ambiance and cast a spell on me.

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My first stop, after quickly learning the ropes of the Berlin Metro, was Charlottenburg Palace. Both the Old Palace and New Wing were very crowded. Because it was rainy, windy and very cold on that spring day, I did not spend time in the garden or see the buildings situated in it. Next time. . . .

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First, in the Great Courtyard I took a good look at the equestrian statue that glorified Great Elector Frederick William of Brandenburg, the father of Elector Frederick III. The son was the husband of Sophie Charlotte who became King Frederick I.

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I studied the external appearance of the impressive complex. The 50-meter high domed tower of the Old Palace caught my attention instantly. Fortuna, the gilded goddess of luck, was perched atop a lantern on the tower. The New Wing, built by Frederick the Great in the 1740s, was on the left side of the Great Courtyard. Its entrance portal was simple yet elegant.

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First, some background information: Charlottenburg Palace was born in the late 17th century as Lietzenburg, commissioned by then Electress and future Queen Sophie Charlotte. The couple adopted it as their summer residence. It grew into a lavish Baroque building with three wings. Cultural life flourished at the palace during Sophie Charlotte’s time. When she died in 1705, the lively cultural life ended, though King Frederick I still favored the palace.

 

After Frederick I died in 1713, the palace was only used for receiving guests and for family events because his successor, Frederick William I, was more passionate about the military and hunting and didn’t pay much attention to the palace. Then Frederick II took over in 1740 and had the New Wing built and furnished in Rococo grandeur. When Frederick William II came to the throne in 1788, he used a summer apartment in the New Wing.

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King Frederick William III and his wife Queen Louisa enjoyed life at Charlottenburg. They altered the appearance of the interior in 1810, the same year Queen Louisa died at the tender age of 34. A mausoleum with her Carrara marble tomb was erected in the garden. It was a simple yet intimate structure, resembling a Doric temple. The mausoleum is accessible to visitors today.

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Frederick William IV and Elizabeth of Bavaria were often present at the palace after the 1848 Revolution, but the first German Emperor, William I, only paid homage to Queen Louisa in the mausoleum. Otherwise, he was not attached to Charlotenburg. When Frederick III was emperor in the late 19th century, Queen Victoria put in an appearance at Charlottenburg.

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The year 1918 brought a halt to the monarchy, and Charlottenburg Palace then served as a hospital. During the Second World War, the palace took some destructive hits, but many of the priceless objects had been stored elsewhere by the time the bombs had been dropped. After the war, the palace was in much need of lengthy restoration. That work would last from the 1950s to the 1990s. At long last, Charlottenburg was restored to its former glory, presenting life of the royals from the Baroque age through the beginning of the 20th century. Charlottenburg Palace was even the home of the President of Germany from 2004 to 2006.

 

The interiors were very intriguing, many rooms even astounding. The lavish Baroque and Rococo décor of some spaces overwhelmed me. Still, I was a bit distracted by the size of the crowds walking from room to room, but that is what happens when you visit such a popular sight. I especially liked the chinoiserie adornment in many rooms. I found the Chinese-inspired style very impressive. I had not appreciated the remarkable effects that chinoiserie designs could have on a building before I visited the largest former resident of the Hohenzollern clan.

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One intriguing fact: The Amber Room that can now be found near St. Petersburg, Russia was built in this very palace. The amber covering walls were dazzling, as I saw when I visited Russia. Frederick William I gave the lavish room to Tsar Peter the Great in 1716.

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One superb space decorated in chinoiserie fashion was the Porcelain Cabinet, my favorite room in the entire palace. There are some 2,700 objects displayed in the luxurious and extravagant space. Before World War II did its damage, there were many more objects decorating the collection that celebrated the reign of Frederick I with abundant grandeur. There was so much porcelain that it was almost a shock to look at the space. Cleverly positioned mirrors magnified the number of Chinese and Japanese artifacts. The collection holds the distinction of being one of the oldest and biggest in the country.

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The Glass Bedchamber of Sophie Charlotte’s First Apartment

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Golden Cabinet with white harpsichord

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Another room that caught my undivided attention was the Golden Cabinet with its white harpsichord decorated with painted chinoiserie features. The Glass Bedchamber of Sophie Charlotte’s First Apartment showed off masterfully carved furniture and sported chinoiserie elements in its painted lacquer furniture and porcelain. The Brussels tapestries from 1730 in the Audience Chamber of Frederick I showed off scenes taken from Plutarch’s writings. I have always been a sucker for tapestries! Lacquer furniture and Far Eastern porcelain highlighted the chinoiserie effect. The Japanese Chamber is another space in which the chinoiserie style abounds.

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Japanese Chamber

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Audience Chamber of Frederick I

The chapel was phenomenal. It was here, seated in the royal gallery, that the Hohenzollern rulers, worshiped as Reformed Calvinists. Its decoration is awe-inspiring with a superb ceiling painting and carved pulpit. I looked up and saw the lavish decoration of a huge crown and the Prussian eagle.

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The Gris-de-lis Room featured an important painting by Watteau as well as other Rococo gems. In Watteau’s work, the protagonists have been indulging in earthly delights on the island of Cythera and are on their way to a golden ship that will take them home. The Golden Gallery was stunning with its green and gold Rococo adornment. The room, once used for balls, measured 42 meters long. Some of the gilt decoration includes shapes of flowers and shells. The Etruscan Rooms were influenced by Etruscan, Greek and Roman art and took on an exotic quality in the Rococo style.

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Ancestral Gallery

The Ancestral Gallery was regal in appearance with portraits of the Hohenzollern dynasty. Frederick the Great’s portrait was life-size and impressive. Even the details of the King’s Bathroom were not to be overlooked. Taps on the faucets appeared as dolphins. These sorts of details greatly impressed me.

 

I really was drawn to the Bedroom of Frederick William II, which was decorated in a white-striped bright yellow pattern. I recalled the bright yellow of my mother’s kitchen, a cheerful room where so many topics have been discussed as we set the world to rights, voiced our dreams and hopes as well as our disappointments and sorrows.

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East Indian Chintz Room

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The East Indian Chintz Room was no less spectacular. A favorite of Queen Louisa, the walls were covered in chintz, a waxed cotton fabric decorated with plant ornamentation as well as bird themes. The Adjutant Room was also intriguing for its South American rain forest landscapes. Paintings of Italian vistas in another room brought to mind my love of Italy, a country I tried to visit every year.

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Other buildings in the 55-hectare Baroque garden with Great Orangery included the New Pavilion, constructed from 1797 to 1869 and inspired by a villa in Naples. Romantic and Biedermeier paintings adorned its interior. The Belvedere, once a three-storey observation tower, was now home to a Berlin porcelain museum. The Great Orangery was another plus. During the late 18th century, plays and operas were staged at the impressive former theatre building.

 

I hope to visit these places, plus the mausoleum for Queen Louisa, next time I visit, weather permitting. There were three museums across from the palace, two of which were opened. I explored them and found a small hamburger joint for locals where I savored a juicy burger.

There always seems to be something drawing me back to Berlin.

Tracy A. Burns is a writer, proofreader and editor in Prague.

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Museum of Decorative Arts in Berlin Diary

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Located next to the Gemaldegalerie of painting masterpieces, the Museum of Decorative Arts(Kunstgewerbemuseum) in the Kulturforum complex holds a very underrated and impressive collection of top-notch exhibits in fashion, design and object art from the Middle Ages through the Art Deco period. I was particularly impressed with the monumental Renaissance tapestries.

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To be sure, the medieval and Renaissance art was astounding, especially the Guelph Treasure from the 12th century. Objects from the Baroque era also stood out, including furnishings and a cabinet of curiosities from that era. Rococo porcelain, such as Meissen, is well-represented, too. The Art Nouveau and Art Deco collection spans from 1900 to 1920. I was drawn to the Art Deco vases and the furniture in both styles.

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On the lower level, there is an intriguing exhibition of chairs from the 19th century to the present. It was fascinating to see how chair design had developed through the ages. One chair was made of what looked like wire; I could not imagine how painful it would be to sit on it. Another resembled an ice cream cone in a playful yellow with white color combination.

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Normally, I am not interested in fashion at all, but this collection caught my undivided attention. I loved the stunning evening dresses plus the older fashions from 1700 to 1850. I could never wear a corset! This museum outdid my expectations, and I came away with a fonder appreciation of fashion, design and art in general.

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Tracy A. Burns is a writer, proofreader and editor in Prague.

Kozel Chateau Diary

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I took a bus with Student Agency to Pilsen (Plzeň in Czech), a city in west Bohemia where I have explored the historical underground, the Pilsner Urquell Brewery, art galleries, excellent restaurants and the main square, to name just a few. Pilsen was very dear to me, and I loved coming here on day trips. This time, though, I was getting a train to Šťáhlavy, and from there I walked to Kozel Chateau, which I had visited about 10 years earlier on a perfect, sunny summer day.

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This day was by no means perfect. It was cold, and the dark clouds threatened rain. Still, I knew that would not stop me from enjoying this unique chateau, built in Classical style, with four wings surrounded by an inner rectangular courtyard. The architect was Václav Haberditz, who had been based in Prague. I wished I had more information about him, but he was not well-known.

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The design had a simplicity and sobriety to it that I admired. It was restrained, symmetrical and orderly. While I loved traveling to Baroque chateaus, I also appreciated this style that harkened back to forms utilized in classical antiquity. The chateau did not need any fancy exterior fittings to project its beauty.

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I reacquainted myself with its intriguing history. Kozel was erected from 1784 to 1789 for its owner, Jan Vojtěch Černín of Chudenice, who worked for Emperor Joseph II as the supreme huntsman of the Czech kingdom. The chateau, not surprisingly, was designed as a hunting lodge, though a few years later it became the family’s summer residence.

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In the 1790s the chateau was expanded. Four new buildings came into being thanks to Prague architect of Italian origin Jan Nepomuk Palliardi, who specialized in the Classicist style.

The chateau had not always been called Kozel. Its original name was the German Waldschloss or Jadgschloss bei Stiahlav. It is not known how the chateau came to be called the Czech word meaning goat, though a legend says that the ancient Slavs used to sacrifice a goat on this spot during the spring equinox in hopes of receiving a bountiful harvest.

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Jan Vojtěch Černín died childless, so his grandnephew Count Kristian Vincenc Valdštejn-Vartenberk inherited the property. Kozel remained in the family until it was nationalized in 1945 and did not undergo any major changes. I admired that the chateau remained in its original style. So many chateaus underwent such drastic makeovers over centuries. During the 19th century, one owner was Arnošt Valdštejn-Vartenberk, whose claim to fame was establishing an ironworks in Pilsen during 1859. He sold it to Email Škoda in 1869, when the business took on the name Škoda Works, and before long this enterprise would become the most prestigious and largest engineering works in what was at the time Austria-Hungary.

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I walked through the park, though the weather was chilly. I saw ducks, swans, a big pond and a vast expanse of land that merged with the countryside. Here I felt at one with nature. I remembered the last time I was here. I had spent time reading on a bench as well as gazing at the idyllic scenery in the park.

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Now it was time for my tour. The interior was nothing like the Classicist exterior. It was extravagant, luxurious, plush. In one of the first rooms, I admired a clock from London that had only one hand; it dated back to the 16th century. I did not recall ever seeing a one-handed clock. Graphic sheets from Italy showed Italian villas and chateaus, and I was reminded of my passion for Italy and my exciting travels there. How I would love to visit those villas and chateaus! I wanted to see everything in Italy just as I wanted to see everything in the Czech Republic.

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I saw a Classicist commode decorated with intarsia and a few Baroque fans, one showing off a scene of people, dogs and horses. A King Louis XVI bureau hailed from the 16th century and was adorned with Greek and Roman mythological scenes. The intarsia decorating the piece of furniture was outstanding. There also was an impressive tiled stove. I would see similar stoves in all but one space, it turned out.

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Next, we came to the entrance hall. I loved the wall painting by Antonín Turova, who made the room resemble a winter garden with walls showing green ivy on trellises. His al secco method of painting on dry lime plaster was exquisite. I thought of the illusive painted altars I had seen in churches, such as the remarkable one at Hejnice Basilica in north Bohemia. A movable Rococo lamp also caught my attention.

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The Smokers’ Drawing Room included a Classicist bureau and two Rococo cabinets with Meissen porcelain. A collection of pipes was on display, too. It reminded me of my grandfather, who had for many years smoked a pipe. I remember scrutinizing his collection of pipes when I was a child. Then I recalled how proud he was when I was nine and took up his hobby of coin collecting. We walked into one coin shop, and he announced, “This is my granddaughter!” Even today I can see the saleswoman’s smile.

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A bedroom was decorated in 18th century Rococo style with a Classicist bed. The graphic sheets on the walls hailed from Germany and portrayed aristocratic life during the 18th century. I admired the shell decoration on the Viennese porcelain.

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In the Dressing Room, I wanted to relax on the Rococo chaise-lounge and yearned to take home the Renaissance jewel chest inlaid with ivory. In the Hunting Salon, a Baroque desk featuring intarsia showed off hunting motifs. While I was not a fan of hunting, that piece of furniture did impress me.

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There was a Billiard Room as well. I recalled playing pool with my father when I was a child. I played badly, but we had fun. It was treasured father-daughter time. My interest was riveted by the landscape paintings by German and Italian painters. In the Dining Room I gawked at the black-and-gold Baroque thermometer and faience portraying birds and cabbages. The only fireplace in the chateau was Rococo in style.

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The biggest space was the Drawing Room for Social Occasions, where a painting by Turova caught my attention. It showed Radyně Castle, now a ruin, located near Pilsen. I recognized Kozel below it. There were birds, trees, ancient ruins, dogs and an eagle in the painting. The walls were stunning. Medallions were inspired by mythology. I saw Hercules holding a boar, for example.

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The Blue Room or the Countess’ Study intrigued me with its Louis XVI style furnishings. I loved the intarsia table shaped as a globe. It could be adjusted to be an embroidery table or a desk. I would love to have that in my living room, though the cat would probably sharpen her claws on it. Another white tiled stove, this one quite ornate, was on display. A bedroom also boasted Louis XVI furniture and a Classicist mirror.

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The Music Chamber had served that purpose when Jan Černín created it for his first wife Josefína. I took special notice of the piano and harp. I loved the music instruments painted on the walls. The grey-and-light blue painted walls impressed me, too. We came to the Grey Room, the original living room of the countess’ chambermaid. It included Biedermeier furniture from the 19th century. I loved the symmetry of that style, the orderliness, the simple elegance. I took special note of the portable embroidery table that can be closed like a purse – exquisite! Porcelain in display cases also caught my attention.

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The Morning Dining Room showed off a series of Viennese porcelain with shell-shaped adornment. Meissen porcelain was no stranger to the room, either. The Count’s Study featured oriental objects. I loved the turtle figure that looked like a dragon. It hailed from the 18th century. A gilded Classicist desk that featured intarsia was another highlight.

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The library was divided into two parts. It included over 7,900 volumes from 1517 to 1840, including the first edition of a French encyclopedia and 17th century maps. Books from 18th century France were in abundance. The library’s volumes were in various languages – Old German, French and Latin, for example – but, as was the case in many chateau libraries, none of the books were written in Czech. It is worth noting that the library was only moved to Kozel after 1945. It is not original.

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The next room, the Empire Drawing Room, was decorated with Empire style furniture. I loved the painted vedutas of Italian spas on the walls. I thought back to Monreale’s Santa Maria Nuova Cathedral in Sicily and the Church of Saint Peter in Chains (San Pietro in Vincoli) in Rome. What about those arcades in Bologna and all the masterpieces in Ravenna? I loved Italy so much, but I loved the Czech Republic even more. One painting of the eruption of Mount Vesuvius caught my attention. I recalled the views from Mount Etna and from Mount Vesuvius during my trips there. The Viennese porcelain was another treat in that space.

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There was a theatre on the premises, too. Created in the 1830s, it was originally a stable for Jan Vojtěch Černín’s favorite horse. Decorated in Empire style, it was composed of a small, modest stage that served as an intimate space. The equipment was original. The owners’ families had often performed here. I studied the stage set of a lush forest with a wooden church, a tree in the middle.

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What impressed me more than the furnishings of the interior was the wall painting of the interiors, the work of Prague artist Turova, who drew his inspiration from Rococo painting with landscapes and ancient ruins. He also decorated part of the monastery of Břevnov in Prague’s sixth district, and I remember touring the impressive monastery church too many years ago. He painted the interiors over a two-year period, from 1787 to 1789. The reception rooms boasted female figures, putti and deities, for example. The main chateau Drawing Room featured romantic ruins and landscapes.

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The Chapel of the Holy Rood was a vaulted structure with a cupola. The altar, created in 1794, featured a painting of the crucifixion by Turova. Columns and pilasters were not absent, either. The organ was Rococo in style.

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Soon the tour finished. I greatly appreciated this unique architectural structure of pure Classicism. I was impressed that very few changes had been made over so much time. I was also impressed that the chateau had stayed in the family for so long rather than having many owners, each making his or her own changes to the place. The painting decoration inside particularly thrilled me. I was fascinated how the inside could be so different from the outside of the building. I thought the exterior and interior somehow created a sense of harmony, even though they were composed of such different architectural elements.

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I went around the back of the chateau and looked at the countryside from a terrace with a fountain. The views from the chateau were astounding. I only wish the weather had been better. It was not possible to explore paths as it began to rain. Still, I was satisfied with my trip. I went back to Pilsen to take a look at the Brewery Museum and grab a bite to eat at the legendary U Salzmannů restaurant and pub. Then I took a Student Agency bus to Prague, where I returned home, happy to be living in such an amazing country with so many places to explore.

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Tracy A. Burns is a writer, proofreader and editor in Prague.

 

Libochovice Chateau Diary

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I discovered Libochovice Chateau in 2005 and wrote about it in an article describing chateaus in north Bohemia. It was published during October of that year in The Washington Post. Libochovice is certainly a hidden gem in north Bohemia. I recalled its dazzling displays, stunning tapestries, breathtaking ceiling frescoes and beautiful tiled stoves plus exquisite jewel chests. It is a shame there are not more foreign tourists making the trip there. It has so much to offer the curious castlegoer.
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Before entering the chateau courtyard, I peered at the statue of Jan Evangelista Purkyně, who was born in Libochovice during 1787 and who became one of the leading scientists in the world, as he delved into the studies of anatomy and physiology. His father had worked for the Dietrichsteins, the family who had owned the chateau at that time. For two years Purkyně served as a tutor at Blatná Chateau, a remarkable sight in south Bohemia. Later, he made numerous discoveries in the scientific sphere, such as the Purkinje effect, Purkinje cells, Purkinje fibers, Purkinje images and the Purkinje shift. He also coined the scientific terms plasma and protoplasm. A crater on the moon and an asteroid are named after him.
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Before my trip, I had read up on the history of the town and chateau. Located near the romantic ruins of Házmburk Castle, Libochovice was first mentioned in writing at the beginning of the 13th century. At that time, Házmburk Castle, then called Klapý and by no means a ruin, played a major role in the development in the town. A wooden fortress was built in Libochovice, and it was later replaced by a stone Gothic structure. During the Hussite Wars of the 15th century, the castle in Libochovice was razed, the town conquered.
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The Lobkowiczs took over the properties in 1558, and they were responsible for constructing a Renaissance chateau with 28 rooms on the premises. When Jiří Lobkowicz revolted against Emperor Rudolf II in 1594, he was imprisoned, and his property was confiscated. That’s when the Sternberg family took control. Still, times were not rosy. The Thirty Years’ War did much damage, and during a fire in 1661, the chateau was destroyed.
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When Václav Vojtěch Sternberg sold Libochovice to Austrian noble Gundarkar from Dietrichstein in 1676, a new era had begun. The Dietrichsteins would retain ownership until 1858. The chateau was reborn from 1683 to 1690, designed in early Baroque style. There were four wings with a courtyard decorated with Tuscan pilasters and arcades. A sala terrena on the ground floor led to the garden.
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Unfortunately, Gundakar died before the construction of the two-floor structure was completed. His daughter Terezie was then in charge of the chateau, and she had renovations made in the 1870s. More reconstruction occurred from 1902 to 1912. In the 19th century Johann Friedrich Herberstein added many objects of interest to the chateau collection. An avid traveler, he toured Egypt, Syria, Persia and India, for instance.
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During World War II the chateau’s history was bleak. That’s when Nazis took over Libochovice Chateau. Sixty-five residents of the town and surroundings revolted against the Third Reich and were beheaded by the Nazis. After 1945 the chateau was confiscated and nationalized because wartime owner Friedrich Herberstein had obtained German citizenship. More reconstruction took place throughout the decades, and in 2002 the chateau was declared a national monument.
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I was so excited about this tour. First, we visited the sala terrena, which looked like a richly adorned cave. The vaulted ceiling was incredible. I loved the sea motif as decorative seashells took the shape of a floral design. The reliefs of a sea monster also enthralled me.
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Next, we came to one of the highlights of the chateau, large Saturn Hall, where banquets, balls and concerts had been held. Above the fireplace a stucco sculptural grouping focused on Saturn. The Baroque chandelier, hailing from Holland, also captured my interest.
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From there, we continued to the Baroque section of the chateau. The ceiling fresco in the first room was breathtaking, displaying a mythological scene. A Renaissance chest gilded with ivory and a Baroque jewel chest inlaid with ivory and tortoiseshell were two delights.
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I marveled at the tapestry, one of many I would see in this chateau, in the Big Gallery. It dated from the 16th century, and its theme was the Trojan War. The guide remarked that the tapestries were not put up for merely for show; they had also helped heat the rooms. A Baroque fireplace hailed from 1620. Still, that was not all this room had to offer. A jewel chest featuring carved reliefs hailed from the beginning of the 17th century.
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The Study included an atlas from 1775 with pages of handmade paper. I wanted to turn the pages to find out what the handmade paper felt like. I recalled visiting the papermill in Velké Losiny, located in north Moravia, long ago, when I also toured the chateau there. It had been an enthralling experience, I mused. Then a jewel chest made with intarsia dazzled me. One tapestry in this room showed off a garden party while another sported a plant motif in an idyllic setting. The Baroque stove hailed from 1690. There were so many impressive Baroque stoves in this chateau!
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During the 17th and 18th centuries in the Czech lands, there was much interest in Chinese and Japanese porcelain. The Chinese and Imari Japanese vases in the Oriental Salon reminded me of a trip to Dresden’s Porcelain Museum. The pieces in the chateau were so exquisite. Upon seeing an impressive French Baroque clock, I recalled the one I had seen at Loučeň Chateau a few months earlier. And how I loved jewel chests! This particular jewel chest was inlaid with ivory and tortoiseshell, featured intarsia craftsmanship and portrayed a hunting scene. Another thrilling tapestry was on display. I recalled the exciting tapestries at the Residence Palace Museum in Munich.

In the Bedroom I admired the spiral carved columns of the 17th and 18th century Baroque closets as well as the bed with canopy. A Rococo crucifix was also on display. The tapestry in this room featured King Solomon. I was enthusiastic because I knew there were even more tapestries to come.
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Rococo furniture from the 18th century decorated the Morning Salon. I mused that it must have been delightful to sit in this room and sip black or green tea. Two tapestries portraying the apostles adorned the space. And there was yet another ceiling fresco! This one showed Persephone venturing into the Underworld. I was especially drawn to the jewel chest with pictures of a town carved on its drawers. The attention to detail fascinated me.

In the Ladies’ Cabinet there was a Baroque commode with exquisite intarsia plus a Rococo table and desk also created with intarsia. The three tapestries took up themes of nature and architecture, offering a respite from the religious scenes that the tapestries often portrayed.
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The Men’s Cabinet was decorated mostly with Neo-Renassaince and Second Rococo furniture. A large desk was Baroque. If I had not visited so many chateaus, it would have never occurred to me that the big bowl decorated with images of birds and floral motifs used to serve as an aquarium.
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Next came the chapel. While it was originally designed in Gothic style, the chapel now looks as it did after a 19th century renovation. I admired the stained glass windows. I love stained glass! The Neo-Gothic altar featured the apostles. What captured my attention the most, however, was a 16th century exquisitely carved altar showing off the adoration of the Three Kings. The woodwork was incredible, so detailed, so exquisite.
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The Big Dining Room took on Renaissance and Baroque characteristics. A carpet covered the large table, set for a feast. The tableware was made of pewter, typical of the Renaissance era. On the table there was a bowl that served as a washbasin for guests to clean their hands while eating. And more tapestries to behold! This time the two tapestries portrayed Alexander of Macedonia. Two paintings rendered scenes from antiquity. (The paintings throughout the chateau also are worthy of undivided attention.) Once again, I admired yet another ceiling fresco. This one centered around Aphrodite and Athena. In the corners four female figures in oval medallions represented the four continents. (Australia had yet to be discovered.)
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I liked the Biedermeier furniture in the Small Dining Room. That style seemed to me to have such a sense of order and rationality. Yet I was enthralling by all styles of all eras. The colored decorative porcelain from Dresden and the pink-and-white Viennese porcelain service also caught my eye. The Baroque stove was quite a sight, too.

The Rococo Salon featured furniture of the Second Rococo style from the mid-19th century. The pink walls made the room feel quaint and inviting. Stucco adorned the ceiling fresco. Another Baroque stove and Meissen porcelain made appearances. In a flattering portrait, Terezie Dietrichsteinová – Herbersteinová, a former owner of the chateau, looked calm and content with life. I wondered if I was at a time in my life when I was calm and content. To some extent, yes. And traveling certainly played a major, positive role in my contentment.
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The Empire Salon was decorated with furniture of that style from the 19th century. On the walls were pictures of Dietrichstein properties – Nové Město nad Metují Chateau, Kounice and Mikulov, all rendered masterfully by František Kučera. I liked the clock featuring a tongue that showed the time. The clock making time with its tongue brought to mind images of the living objects in The Beauty and the Beast. From the window there was a splendid view of the park.
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The 19th century library was intriguing because it contained mostly books about natural science and travel, all printed in numerous languages. I had not heard of chateau libraries concentrating on only a few subjects. While about 2,500 books were on display, there were approximately 6,000 volumes in total. Objects that Josef Herberstein had brought back from his travels adorned the room, too. I saw African masks, an African crocodile and a Japanese sword, for instance. Another exquisite Baroque stove stood in the space.
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The last room was the casino. A Russian pool table made in Prague dominated the room. I noticed that the card tables were made with intarsia. Portraits of the Dietrichstein clan hung on the walls. Josef, who loved traveling and hunting, was rendered in hunting attire, armed with a rifle and accompanied by a dog. I mused that he must have been a brave man to travel to such distant lands.
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Next I took a look at the park, which had been created in French style during 1683. Later, it got a Baroque makeover, and then it was changed into an English park. Now it is once again in French style, thanks to 20th century reconstruction. I loved the view of the chateau from the back, which sported floral adornment and a fountain. The chateau looked so majestic when viewed from that area.

I ate lunch at a nearby restaurant on the main square that was sleepy on a Saturday afternoon. Libochovice Chateau had dazzled me once again. The combination of ceiling frescoes, Baroque stoves, jewel chests and tapestries made the chateau unique and irresistible. The paintings also contributed to the majestic interior, where no object or piece of furniture failed to enthrall.
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The interior had plenty to offer. I mused that there should be tours of the chateau offered from Prague. Libochovice deserved numerous accolades, and it was a chateau I would never forget, no matter how many chateaus I visited. The combination of artifacts and the design of the interior made Libochovice unforgettable, a place I could tour 100 times and not be bored. Every object spoke to me; nothing failed to capture my interest and curiosity. Yes, Libochovice is a special place, and my visit made my day a huge success.
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Tracy A. Burns is a writer, proofreader and editor in Prague.

Loučeň Chateau Diary

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Waiting for the tour to start, I was excited that I would soon see the historical interiors of a chateau I had never before visited. Although Baroque Loučeň (also sometimes referred to as Lautschin) had been open to the public since 2007, I had heard about by chance only in 2015 via an article posted on Facebook. The place sounded magical. I knew I had to make a trip there. And soon. While there are many tours for children, I had opted for the classic tour of the interiors.

I was surprised that a settlement at Loučeň had existed as far back as 1223. A castle was in the town even during the Middle Ages, but a turning point in the history of Loučeň came in 1623 when Adam von Wallenstein became the owner. That is when the chateau was built in Baroque style, construction taking place from 1704 to 1713. Adam had a famous nephew: Albrecht von Wallenstein had made quite a name for himself in the military. He even held the post of supreme commander of the armies of the Habsburg Monarchy and was a major player in the Thirty Years’ War. The Wallenstein family tree died out in 1752.
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In 1809 the Thurn und Taxis family came into the picture when Maxmilián Thurn und Taxis purchased the chateau. I had become familiar with this dynasty when I had visited Regensburg, where the family had had their main residence. I had toured their elegant palace and distinctly recalled the grotesque figures on the ceiling of the Conservatory, the Brussels’ tapestries in the Large Dining Room and the lavishness of the Rococo and Neo-Rococo Ballroom.

The family’s great influence on the postal system had left me in awe. The Thurn und Taxis family descended from the Tasso clan from the 13th century. During the end of the 15th century, Francesco Tasso created the first postal system going from Innsbruck to Brussels. It took a week for the mail to reach its destination. The key to its success was that the rider and horse were changed at each postal station. For his ingenuity, Tasso was given nobility status by Emperor Maximilian I and thus became Franz von Taxis in 1512. Before long the Thurn and Taxis family had the monopoly of the postal services in Central and Western Europe. By the end of the 18th century, the postal system was enjoying great success.
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The Thurn und Taxis clan had some prominent members, that’s for sure. For example, Rudolf von Troskow established the law journal Právník, the first of its kind in the Czech language. He also created some legal vocabulary that is still in use today. His interests were not limited to law, though. He was a patron of the arts as well.

During 1875, when Alexander Thurn und Taxis, a violinist and patron of the arts, wed Marie von Hohenlohe, an amateur painter as well as friend and patron of Rainer Maria
Rilke, times changed at Loučeň, a place many well-known artists and politicians proceeded to visit. Rilke stopped by – not once – but twice. He even dedicated his Notebooks of Malte Laurids Brigge to Marie. Composer Bedřich Smetana lived nearby toward the end of his life and performed on one of the Thurn und Taxis’ pianos. Smetana was a friend of the family; he dedicated his composition Z domoviny to Alexander. Other prominent visitors included Tomáš Garrigue Masaryk, the first president of Czechoslovakia, his daughter Alice, Czech writer Eliška Krásnohorská, musician Josef Suk and American storyteller Mark Twain.

Alexander Thurn und Taxis was a man of many accomplishments. He gave his animal trophies to Prague’s National Museum and helped build the first railway in the region. During the tour I would discover the role he played in bringing soccer to Bohemia.

The Dining Room

The Dining Room


The Thurn und Taxis clan would lose the chateau at the end of World War II, when it became the property of the state. In 1945 the Soviet army and locals plundered the chateau. Under Communism the chateau’s history was not rosy, either. It became a recreation center for Ministry of Transportation employees. Later it was turned into a railway trade school. A landmark event occurred when the company Loučeň a.s. took over the chateau in 2000. Even some of the original furnishings were retrieved.

Our guide was a descendant of the Thurn und Taxis family. I had never been on a tour led by a member of a family that had had such a remarkable impact on the chateau I was visiting. It was a real treat. In Staircase Hall I was captivated by a large painting of Duino Chateau, a romantic structure perched on a cliff in Italy. The young man’s parents were there now, he said. The place had been the Thurn und Taxis’ property for centuries. Rilke had written his Duino Elegies there.
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In the first room there was a sleigh which had been used to move the mail through snowy terrain. It was painted black and yellow, and it was no coincidence that taxis often used the same shade of yellow. In fact, the word taxi derives from the name Thurn und Taxis. I also saw the huge winter boots that a postman would have worn delivering the mail in wintry conditions. A map of Bohemia from 1720 hung on one wall. I loved old maps! It made me think of the vedutas and maps of towns at Mělník Chateau. The family’s coat-of-arms was prominent, too. It featured a badger. (The original name of the family, Tasso, means badger in Italian.)
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I wanted to sit in the red, plush chairs at the dining room table and stare at the exquisite porcelain service. Overall, there were 600 pieces, but only a portion of them were on display. The fancy gold candlesticks got my attention, too. In the Chinese Salon I was impressed with the big Chinese vases, so colorful with superb designs. The white wallpaper featured pink flowers and green leaves and had a sense of fragility and intimacy to it.

The Prince’s Study was filled with his souvenirs from two trips to Africa, including a crocodile. Paintings of horses also decorated the study. In one rendition a horse was jumping over a barrier in a Pardubice steeplechase race. (I would learn more about the Pardubice steeplechase when I visited Karlova Koruna Chateau a few weeks later.)
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In the Prince’s Bedroom I noticed a photo of Prince Alexander with his four cats, three of whom slept on the bed with him. Curled up on the bed were three stuffed animal cats. I thought that was an interesting touch. My late cat had almost always slept on my head during almost 15 years, and I thought of how much I missed him. I wondered what my five-year old cat was doing at that moment. She liked to sleep at the foot of the bed. I didn’t think I could live without cats in my life. Maybe Alexander had felt the same.

In the servant’s bedroom I saw something that really surprised me. At first I did not understand why there was an iron next to replicas of old banknotes. Then the guide explained. The servant ironed the prince’s money so that it would not be crumpled. That was not all. The servant also ironed the prince’s newspaper to prevent the color from fading and to keep it from getting dirty.

In the hallway I saw a vacuum from the 1930s and red buckets on one wall in case a fire would break out. A picture of the Loučeň soccer team from 1893 also hung in the hall. That team played in the first official soccer game in Bohemia, thanks to Alexander’s interest in the sport.
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An avid fan of classical music, I have always enjoyed visiting the music salons in chateaus. This time was no different. I tried to imagine Smetana performing on the piano in the room. On the piano was a red box of Mozartkugeln truffles. The music sheets were turned to Concertino for violin and piano by Leo Portnoff, who was born in Russia during 1875 and emigrated to the USA in 1922.) I wondered if Alexander had played the violin accompanied by Marie on the piano when performing this piece.

The Princess’ Salon was decorated with books by Rilke and an upright piano from the 18th century. The view of the park from the window here was very romantic and picturesque. There were 10 mazes and 11 labyrinths in the park. I would have to check it out later, I told myself. I loved the bright green painted walls and a nook in one part of the room. I wanted to relax and read, seated in that nook, losing myself in a mystery or art catalogue.

The Church of the Assumption of the Virgin Mary

The Church of the Assumption of the Virgin Mary


In the Princess’ Bedroom I saw her ravishing pink-and-cream wedding dress, which she had donned at age 40. I marveled at how young she looked in photos. Crowns and lions adorned the light blue wallpaper. A piano made by Rudolf Stenhamer in Vienna stood in the room, too. I admired the richly carved patterns on the front and back of the bed. I also was interested in the personal items that had belonged to the princess. On display were fans, a crocodile handbag and beautiful necklaces as well as a jewelry bag. The Oriental carpet was a nice touch, too.
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The Children’s Room came next and then a small classroom for Thurn und Taxis children. It was very plain. There was a small bench for two students with small blackboards. On the desk were two books called Histoire de la Revolution Française. In the Church of the Assumption of the Virgin Mary there was a real treat. The artwork over the main altar was made by my beloved Czech Baroque painter Petr Brandl. I recalled his altar paintings in the cathedral at Sedlec, which I had visited earlier that year for what must have been the fourth or fifth time. Still, his work never failed to amaze me.
The ceiling of the church

The ceiling of the church


The library consisted of a gallery and ground floor. One of the books prominently displayed was an English version of a fairy tale by Princess Marie – The Tea Party of Miss Moon. I would have been interested in reading it to get a sense of the princess’ writing style, but it was not for sale in the chateau shop. The most valuable book was the huge chronicle of the Thurn und Taxis family. Another enormous volume on a table tackled the theme of the romantic Šumava region in the Czech lands. The room was not without its distinguished family portraits, either.

I walked through the park a bit and then made my way to Nymburk, a town closely associated with my favorite Czech writer, Bohumil Hrabal. In Nymburk I did not have much time for sightseeing, though. I peeked into a Gothic church and had lunch before heading back to Prague, more than satisfied with the trip’s outcome.

View from Loučeň Chateau

View from Loučeň Chateau


Tracy A. Burns is a writer, proofreader and editor in Prague.

Lobkowicz Palace Diary

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It was one of those places I had been meaning to visit for a long time, but I had just never gotten around to it. Tomorrow. . .this week. . .next week. . .I would always stay home and write instead of visiting the Lobkowicz Palace. Friends and family raved about the museum. In August of 2015, I finally went to check out the Lobkowicz Museum, which opened in 2007.

The beginning of the audio guide tour had me hooked. William Lobkowicz, the current owner of the palace, did most of the narrating. His grandfather Max was married to a British citizen, Gillian. When World War I started, Max had been a very affluent man. During World War II he served as ambassador of the Czech government in exile in London. He was fervently against the Nazis and was an avid supporter of the democratic First Republic of Czechoslovakia. The Nazis disliked Max not only for his anti-Nazi activities but also because he had a British wife. After the Communists took control of the country in 1948, Max found himself trapped in Czechoslovakia. His wife sent him a letter from London, telling him she was gravely ill. She wasn’t, but the ploy worked. The Communists gave Max two days to visit her. With only his coat and the clothes he was wearing, Max fled from his homeland to join his wife in London. He left behind 13 castles. William’s father had been 10 years old at the time and had been sent to live in the USA.

Max Lobkowicz from lobkowicz-palace.com

Max Lobkowicz from lobkowicz-palace.com


What a story! It sounded like something out of a spy novel or film! It must have been so difficult to leave so much property and so many possessions behind. Thirteen castles! It must have been heartwrenching.

Then I found myself in a large room full of family portraits, starting with those of nobility from the house of Pernštejn. The portraits were not merely faces staring at me. Each portrait told a story about an individual thanks to the information on the audio guide. The people came alive as I listened to intriguing facts about their lives. When I was looking at the Pernštejns, I fondly recalled my visits to Pernštejn Castle in Moravia. It was one of my all-time favorites. I wonder if that had been one of the 13 castles grandfather Max left behind.
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Vratislav Pernštejn, born in 1530, held the distinction of being the first Czech to receive the Order of the Golden Fleece, achieving this feat at the tender age of 25. Later, many more Lobkowiczs would be honored with the award. The Lobkowicz clan was related to King Philip II of Spain, whose tenure on the throne lasted 40 years. His territories even included Central America, the Caribbean and parts of what is today the USA. At one time he was even the King of England. Nicknamed “Philip the Prudent,” he was the son of Holy Roman Emperor Charles V and Infanta Isabella of Portugal. The Philippine Islands were named after him. He founded the first trans-Pacific trade route between America and Asia. He also made sure the Ottomans would no longer be a formidable enemy of his lands. He also helped his empire get back on its feet in times of financial crises.
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I wished I could trace my family tree back so many centuries. I knew that I was of Slovak heritage on one side of the family, had a grandmother of Czech ancestry and a grandfather of Scottish origin, but I did not know any details. My ancestors from Moravia were named Mareš, a common Czech surname. My grandmother’s maiden name had been Šimánek, also a common name. I think my decision to move to Prague had something to do with filling up a vast emptiness about my family’s past, wondering who my ancestors were and what they were like. In Prague I felt in touch with a past I had never known, and that was one of the reasons Prague felt like home.

I was reminded of a Diego Velázquez exhibition I had seen in Vienna about a year ago when I gazed at the portrait of Infanta Margarita, then a four-year old member of the Spanish royal family. I recognized her from Velázquez’s masterpiece, Las Meninas. While Margarita was immortalized in portraiture, she did not enjoy a long life. She died during childbirth when she was only 22 years old.

I found the Lobkowicz’s involvement in the Defenestration of Prague fascinating. One painting showed the historical event, when Protestant nobles revolted against the Catholics and threw two Catholic ministers and a secretary out a window. This event triggered the Thirty Years’ War. Luckily, the three fell onto a pile of dung and did not die. Two of them took refuge in Lobkowicz Palace. According to legend, Polyxana Lobkowicz hid them under her skirts.
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In the next room I was surrounded by fine porcelain. I saw majolica service from Lombardy picturing a calming landscape of coastal scenes with mountains. It dated back to the 17th century and was made in Italy. I was also enamored by service from Delft, dating back to the late 17th century. I had always been fond of porcelain made in Delft.

The painting in the next room captivated me. Lucas Cranach the Elder had rendered Mary and the Christ child in a painting hailing from 1520. Saint Catherine and Saint Barbara also made appearances. I found out that Ferdinand Lobkowicz had been an avid art collector.
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In a separate space stood a processional reliquary cross, Romanesque in style. Hailing from north Germany in the beginning of the 12th century, it was made of gilded copper and adorned with 30 crystal cabochons. I couldn’t believe I was looking at something that ancient and in such good condition. Whenever I saw Romanesque churches, for instance, I could not believe I was standing in a structure built so many centuries ago. I briefly thought back to the Romanesque church with the fascinating façade in Regensburg.

Then I entered a room filled with weapons and knights’ armor. While I was impressed that the Lobkowiczs possessed such a superb armory, weapons were certainly not my cup of tea. I moved on and soon found myself surrounded by musical instruments, especially violins. I love classical music, and the room calmed me while the armory had made me anxious.

I stared for some minutes at the original score of Part III of the Messiah by Handel as arranged by Mozart. I also saw original scores by Beethoven and Mozart, two of my favorites. The first printed edition, dating from 1800, of the score for the oratorio of The Creation by Haydn also caught my attention. My mind wandered back to those classical music classes at Smith College, where I first became enamored with the above-mentioned composers and many more. An entire new world had opened up for me. I also spent some time gazing at the violins and clarinets, wishing I could play an instrument. I had taken beginners’ piano lessons in college for a year, but that was it. In college I always dreamed of being able to play an instrument well enough to major in music. But it had been just a dream. I wasn’t talented enough, and I had concentrated on my writing.

Haymaking by Pieter Bruegel the Elder, 16th century. Photo from www.wga.hu

Haymaking by Pieter Bruegel the Elder, 16th century. Photo from http://www.wga.hu


Soon I set my eyes on one of my all-time favorite paintings by my favorite artist, Pieter Bruegel the Elder. It was his rendition of Haymaking, one of only six panels representing the 12 months of the year. Each panel represented two months. Haymaking depicted June and July. I remembered gaping at the Bruegel collection in Vienna’s Kunsthistoriches Museum, where I had admired The Gloomy Day (Early Spring), The Return of the Herd (Autumn) and the Hunters in the Snow (Winter.) Bruegel’s paintings of the seasons had played a significant role in Western art. It was the first time that landscape was the main subject of the painting. Before, landscape had been utilized as a backdrop for religious figures. I admired how nature played a role in the lives of the people depicted in the paintings. Their daily activities were dictated by the seasons. I loved the way Bruegel depicted the common man in everyday activities and put so many details in his paintings. The landscape was stunning and idyllic, too.

The Croll Room was breathtaking. Carl Robert Croll had painted over 50 works for Ferdinand Joseph Lobkowicz during six years in the 1840s. I recognized Jezeří Castle, which the Lobkowiczs sold to the Czech state in 1996. I had visited Jezeří some years ago, but the chateau was in need of major reconstruction. Its location on a cliff was romantic, but restoring the interiors was going to take a lot of time. I wondered how far the restoration work had come during the past years. I also recognized Roudnice Chateau, shown Italian Baroque style from reconstruction that took place from 1653 to 1677. I had been to the art gallery at Roudnice Chateau some years ago, but most of the chateau was under reconstruction. Nelahozeves, also seen here, was one of my favorite chateaus due to its impressive art collection. Not far from Prague, I always recommended that visitors take a day trip there. I had even written a post about it for my blog.

City of London from River Thames with St. Paul's Cathedral on Lord Mayor's Day by Canaletto

City of London from River Thames with St. Paul’s Cathedral on Lord Mayor’s Day by Canaletto, Photo from http://www.wikiart.com


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Then I saw what have to be two of the most beautiful paintings in the world – two views of London by Antonio Canaletto. I loved Canaletto’s work because he brought out the atmosphere of the place he was painting. I could really feel as if I were looking at London and the Thames in his City of London from River Thames with St. Paul’s Cathedral on Lord Mayor’s Day from 1748 and in The River Thames Looking Toward Westminster from Lambeth from 1746-47. I recalled the extensive Canaletto exhibition I had seen in Aix-en-Provence during June. I loved the details of the boats and sails.
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On the first floor I saw a portrait of Princess Ernestine Lobkowicz clad in brilliant red and portraits painted by the princess in the 17th century. I wondered how many female portrait painters there had been in the 17th century. The Bird Room featured pictures of birds made with real feathers. On the audio guide William’s wife, Alexandra Lobkowicz, mentioned that she had found the pictures infested with insects and that they took almost a year to conserve. In the Dog Room I focused on a painting of two dogs proudly seated on velvet cushions in 1700. They looked so spoiled with their luxurious light blue and gold collars. Then again, I had always spoiled my cats.
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The Firanesi Room was filled with engravings of ancient and modern Rome, one of my favorite cities in the world. I recalled showing my parents the Colosseum, one of my most treasured memories of time spent with my Mom and Dad. The Oriental Room proved a delight as well. It featured nine Chinese embroidered silk panels hailing from the 18th century. I loved Oriental rooms in castles and chateaus. They were so elegant, and the wallpaper was always so beautiful. There was also a Chinese Room in the palace. It had a distinctive Oriental flair and dated from 1900. I loved the bright colors, too.
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Meissen porcelain in a Rococo cabinet

Meissen porcelain in a Rococo cabinet


Next came the Rococo Room, where two Rococo display cabinets displayed various objects, such as snuff boxes, exquisite fans and Meissen porcelain. I admired the rich carving of the woodwork on the cabinets. Seeing the Meissen porcelain reminded me of the Museum of Porcelain in Dresden, where there was so much Meissen to behold that it had been overwhelming for me. The superb display cases dated from the 18th century.
An allegorical fresco in the Dining Room

An allegorical fresco in the Dining Room


The Dining Room flaunted portraits and ceiling frescoes that enthralled me. I saw the Allegory of Europe, the Allegory of Asia and the Allegory of America, for instance. Poseidon and Bacchus appeared in several frescoes. I loved ceiling frescoes in chateaus, especially ones with mythological figures. The elderly attendant in the room described the various frescoes to me enthusiastically. It was nice to meet a museum attendant proud of the place where she was working.
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I punched in a number on the audio guide and listened to how the Lobkowiczs watched the Berlin Wall fall and the Velvet Revolution unfold on television. They returned to Czechoslovakia in 1990 and wanted to make the country their home. Under the first law of restitution, the Lobkowiczs had less than a year to find all the objects that belonged to their family and to make a list of them. It certainly had not been an easy process, but, luckily it had a happy ending.

At the end of the tour I walked by a small concert hall. It would be delightful to attend a concert in such an intimate space in a lavish palace. I would have to come back again to go to a concert. Classical music had played a role in the family history, so perhaps it was only fitting that they had a space for concerts.
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I was very impressed with both the palace and the narration on the audio guide. Lobkowicz Palace had a bit of everything – exceptional artwork from various centuries, impressive furnishings, ceiling frescoes, porcelain, musical instruments, original musical scores, weaponry and of course, portraits. I liked the variety of furnishings and pieces of art that I was able to see from various eras – a Romanesque processional reliquary cross and Rococo display cases, for instance. And the family history was so intriguing! What an ordeal William Lobkowicz’s grandfather had gone through! His possessions had not been taken away from him once, but twice – first by the Nazis and then by the Communists.

Now that I knew what an intriguing place the palace was, I was sure I would be coming back for another visit and for a concert sometime soon.
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Tracy A. Burns is a proofreader, writer and editor in Prague.
NOTE: No photos were allowed on the second floor, only on the first.